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Precipitated by an influx of federal and corporate granting programs, the 1960s and 1970s are often referred to as the U.S. dance boom, and Chicago was no exception. New nonprofits emerged on the South and North sides, as choreographers experimented with the fusion aesthetics innovated by their predecessors and as new immigrants and Black subcultures fashioned new forms of social dance. The second volume of Dancing on the Third Coast explores the inevitable collisions of artistic identity with cultural infrastructure, as nonprofit institutions codified aesthetic preferences and social practices from the 1960s to the present.

Contributors write from their own experiences of Chicago dance. Informed by their perspectives as performers and dancemakers, critics and dramaturges, educators and ethnographers, their essays invite readers to join the ongoing work of telling the myriad stories of Chicago dance.


Contributors: Frances R. Aparicio, Maggie Bridger, Ellen Chenoweth, Sydney Erlikh, Joanna Furnans, Wills Glasspiegel, Irvin Manuel Gonzalez, Daniel “BRAVEMONK” Haywood, J’Sun Howard, Wenke (Coco) Huang, Maggie Kast, Michael J. Kramer, Mario LaMothe, Michael Landez, Lizzie Leopold, Kelsa “K-Soul” Rieger-Haywood, Rebecca Rossen, Micah Salkind, Roell Schmidt, Elizabeth Schwall, Nora Sharp, Shayna M. Silverstein, Lauren Warnecke, Zachary Whittenburg, Tara Aisha Willis